FUNDING FOR THIS PROGRAM PROVIDED BY THE GERTRUDE C. FORD FOUNDATION AS PART OF THE GERTRUDE C. FORD ARTS SERIES Narrator: ONCE AGAIN THE CITY OF JACKSON, MISSISSIPPI IS HOSTING A MAJOR INTERNATIONAL EXHIBITION FEATURING SOME OF EUROPE'S FINEST ART AND TREASURES.

IN THIS EXHIBITION, THE GOVERNMENT OF SPAIN THROUGH ITS TWO MAJOR ARTS ORGANIZATIONS THE MUSEO DEL PRADO AND THE PATRIMONIO NACIONAL HAS CONTRIBUTED THE LARGEST COLLECTION OF SPANISH ROYAL TREASURES EVER PRESENTED IN NORTH AMERICA TO THE MAJESTY OF SPAIN.

♪♪ THE GENESIS OF THE MAJESTY OF SPAIN EXHIBITION ACTUALLY BEGAN WITH A FIRST TRIP TO MADRID IN JUNE OF 1997.

THAT WAS MY FIRST VISIT TO SPAIN.

WHILE IN SPAIN I SPENT ABOUT THREE WEEKS MAKING A SURVEY-- A GENERAL SURVEY OF THE MAJOR MUSEUMS IN MADRID, IN BARCELONA-- TRYING TO CRYSTALIZE IN MY MIND WHAT WOULD BE THE GENERAL FOCUS OF THE EXHIBITION.

AT FIRST, I REALLY PURSUED THE DEVELOPMENT OF AN EXHIBITION OF 100 MASTER PAINTINGS FROM THE COLLECTION OF THE PRADO MUSEUM ONE OF THE GREATEST MUSEUMS IN THE WORLD, PROBABLY ONE OF THE TOP FIVE MUSEUMS THAT IS 95% PAINTINGS AND ABOUT 5% SCULPTURE AND SOME DECORATIVE ARTS.

I HAD A MEETING WITH THE SECRETARY OF STATE FOR CULTURE OF SPAIN, AND I HAD WITH ME THE PHOTOGRAPHS OF OUR INSTALLATIONS FROM THE PALACES OF ST. PETERSBURG EXHIBITION IN '96, AND THE VERSAILLES EXHIBITION; AND THEY SUGGESTED THAT PERHAPS WE MIGHT MERGE THE COLLECTIONS OF THE ROYAL PALACES WITH SOME OUTSTANDING PAINTINGS FROM THE PRADO MUSEUM.

NEVER BEFORE HAD THE ROYAL PALACES OF SPAIN LOANED THEIR OBJECTS TO AN EXHIBITION.

ESPECIALLY, THEY HAD NEVER LOANED A COMPLETE EXHIBITION.

Narrator: ON A TRIP TO SPAIN LAST YEAR TO PREPARE FOR THE EXHIBITION WE VISITED MANY OF THE MUSEUMS, PALACES AND CASITAS THAT CONTRIBUTED THEIR ART AND TREASURES TO THE MAJESTY OF SPAIN EXHIBITION.

THE ROYAL PALACE OF MADRID IS BUILT ON THE SITE OF A MUCH OLDER CASTLE, THE ALCAZAR OF MADRID WHICH WAS BUILT IN THE 9th CENTURY UNDER MOORISH CONTROL.

IT WAS REBUILT, FIRST IN THE 14TH CENTURY BY CARLOS I OR CHARLES V, HOLY ROMAN EMPEROR AND AGAIN IN THE 16th CENTURY, BY FELIPE II.

IT WAS AFTER THIS LATTER REBUILDING THAT THE SITE BECAME THE PERMANENT RESIDENCE OF SPANISH ROYALTY AND THE TOWN OF MADRID GREW AROUND IT.

IN 1734 A FIRE DESTROYED THE MAJORITY OF THE STRUCTURE.

ALMOST IMMEDIATELY, FELIPE V BEGAN REBUILDING THE PALACE WHICH HAS SINCE REMAINED THE PRIMARY SEAT OF POWER FOR THE MONARCHY.

ALTHOUGH NO LONGER USED AS A RESIDENCE THE ROYAL PALACE OF MADRID IS USED FOR MANY OFFICIAL FUNCTIONS AND CEREMONIES.

MUCH OF THE DECORATION IN THE PALACE IS BY MENGS AND TIEPOLO.

SEVERAL PAINTINGS BY GOYA OF MEMBERS OF THE ROYAL FAMILIES ARE LOCATED HERE.

MAGNIFICENT FRESCOES BY BAYEU, MENGS TIEPOLO AND OTHERS ADORN THE CEILINGS.

Kyle: FROM THE PATRIMONIO NACIONAL ALONE, WE COULD HAVE HAD A SUBSTANTIAL EXHIBITION HERE WITH THE MORE THAN 300 OBJECTS THAT HAVE BEEN LOANED BY THE ROYAL PALACES.

BUT ADDED TO THAT, WE WERE ABLE TO BORROW ABOUT 60 PAINTINGS FROM THE COLLECTION OF THE PRADO MUSEUM ALONG WITH ABOUT A DOZEN SCULPTURES FROM THE COLLECTION OF THE PRADO MUSEUM.

AND HENCE, WE NOW HAVE THE LARGEST EXHIBITION THAT HAS EVER BEEN ORGANIZED FROM SPAIN IN NORTH AMERICA AND PROBABLY THE LARGEST EXHIBITION ON SPAIN THAT HAS BEEN ORGANIZED OUTSIDE OF SPAIN.

Narrator: AS WAS THE CASE WITH SEVERAL OF THE ROYAL PALACES EL PARDO WAS BUILT AT THE SITE OF AN OLDER CASTLE.

THE ORIGINAL CASTLE WAS PROBABLY BUILT AROUND THE 14th CENTURY.

THE LOCATION WAS CHOSEN, IN PART, FOR ITS PLACEMENT IN THE FOREST, WHICH MADE IT AN IDEAL PLACE FOR HUNTING A FAVORITE SPORT OF THE ROYALTY.

IN THE 16th CENTURY, CARLOS I DEMOLISHED THE ORIGINAL CASTLE AND BUILT EL PARDO.

IN THE EARLY 17th CENTURY IT WAS EXTENSIVELY DAMAGED BY FIRE BUT WAS RESTORED TO ITS ORIGINAL CONDITION.

DURING THE REIGN OF CARLOS III WHO REMODELED MANY OF THE ROYAL PALACES EL PARDO WAS ALMOST DOUBLED IN SIZE.

THROUGH THE YEARS, EL PARDO HAS SERVED MANY PURPOSES.

IT WAS USED AS A BARRACKS BY THE REPUBLICAN TROOPS DURING THE SPANISH CIVIL WAR.

AFTER THE WAR, FRANCISCO FRANCO USED IT AS A RESIDENCE AND HEADQUARTERS DURING HIS DICTATORSHIP OF SPAIN.

AFTER HIS DEATH IT WAS TURNED INTO A MUSEUM AND LATER REMODELED AS A RESIDENCE FOR FOREIGN DIGNITARIES.

MAJOR CONTRIBUTIONS TO THE MAJESTY OF SPAIN EXHIBITION COME FROM EL PARDO IN THE FORM OF FURNITURE AND GOYA TAPESTRIES.

THIS ROOM, LINED WITH GOYA TAPESTRIES RECREATES A BEDROOM BUILT BY CARLOS III FOR HIS SON THE FUTURE KING CARLOS IV.

AFTER THE DEATH OF ALFONSO XII IN THE LATE 19th CENTURY HIS WIDOW PUT THESE TAPESTRIES INTO STORAGE IN THE ROYAL PALACE IN MADRID.

IN THIS EXHIBIT, THEY ARE PUBLICLY DISPLAYED FOR THE FIRST TIME IN OVER 100 YEARS.

WELL, AS YOU SEE, WE HAVE TAKEN GREAT CARE WITH THE INSTALLATION OF THE EXHIBITION.

WE'VE TRIED TO CREATE AN ATMOSPHERE WITHIN THE EXHIBITION ITSELF THAT ENHANCES THE APPRECIATION OF THESE OBJECTS.

THE GALLERY WITH THE RELIGIOUS PAINTINGS, FOR EXAMPLE.

WHEN OUR VISITORS ENTER THIS GALLERY THEY LOWER THEIR VOICES.

THERE'S ALMOST A HUSH THAT COMES OVER THE CROWD.

AND THAT EXPERIENCE OF SOLEMNITY... OF RESPECT THAT IS IMPOSED UPON THEM BY THE MAGNIFICENCE OF THESE GREAT RELIGIOUS PAINTINGS THAT WE HAVE.

Narrator: ANTON RAFAEL MENGS, A NATIVE OF GERMANY WORKED FROM 1761-1777 AS THE COURT PAINTER OF SPAIN WHERE HE DECORATED THE ROYAL PALACES OF MADRID AND ARANJUEZ.

THIS FAMOUS PAINTING, FROM AROUND 1769 IS ANOTHER EXAMPLE OF THE DETAIL AND EMOTION CHARACTERISTIC IN MENGS' WORK.

THE MAJESTIC FIGURE OF CHRIST, RESURRECTED AND STANDING IS SHOWING HIS WOUNDS TO MARY MAGDALENE.

THIS PAINTING, ALONG WITH OTHERS WAS A PART OF THE BEDROOM OF CHARLES III IN THE NEW ROYAL PALACE OF MADRID.

HERE, THE MAJESTY OF SPAIN PROUDLY EXHIBITS ONE OF HIS MOST IMPORTANT WORKS, "THE CRUCIFIXION OF CHRIST."

THIS DEEPLY EMOTIONAL WORK IS CONSIDERED BY MANY TO BE THE MOST IMPORTANT NEOCLASSICAL PAINTING IN SPAIN AND ONE OF THE GREATEST ART TREASURES IN THE WORLD.

THE EXHIBIT OPENS IN THIS GALLERY WHERE VISITORS ARE GREETED BY FOUR GENERATIONS OF SPANISH ROYALTY.

THESE OFFICIAL PORTRAITS WERE PAINTED BY ARTISTS SUCH AS RAFAEL MENGS AND FRANCISCO DE GOYA TWO OF THE FINEST COURT PAINTERS OF THE PERIOD.

THE ROOM IS DOMINATED BY THE THRONE OF CARLOS OR CHARLES III, ONE OF SPAIN'S MOST ENLIGHTENED RULERS WHO WAS THE KING OF SPAIN DURING THE AMERICAN REVOLUTION.

YOU'LL NOTICE ENGRAVED IN THE TOP OF THE THRONE IS HIS DISTINCTIVE PROFILE.

SOME OF THE OFFICIAL ROYAL PAINTINGS INCLUDED IN THIS GALLERY ARE TWO PORTRAITS BY VICENTE LOPEZ.

FEATURED HERE IS KING FERDINAND VII, SON OF CHARLES IV AND ONE OF HIS FOUR WIVES, QUEEN MARIA CHRISTINA OF BURBON.

HERE WE HAVE PORTRAITS OF QUEEN MARIA LUISA, AND KING CHARLES IV BOTH WORKS BY FRANCISCO DE GOYA.

UPON THE DEATH OF CHARLES III GOYA WAS ASKED TO PAINT THE PORTRAITS OF THE NEW MONARCHS AND IN 1785, CARLOS IV APPOINTED HIM OFFICIAL PAINTER TO THE COURT.

DESPITE BEING CONSTRAINED BY THE PROTOCOL OF FORMAL PORTRAITS AND EARLIER ROYAL IMAGES GOYA LEFT GOOD EXAMPLES OF HIS INVENTIVE CAPACITY FOR SHOWING THE PERSONALITY OF THOSE PORTRAYED.

Kyle: IN TERMS OF THE ART WORK THAT IS CONTAINED IN THIS EXHIBITION-- IN DIVIDING IT UP BETWEEN THE DECORATIVE ARTS AND THE FINE ARTS IT'S INTERESTING THAT FROM THE STANDPOINT OF GOYAS WE HAVE MORE GOYAS FROM THE PRADO MUSEUM IN THIS EXHIBITION THAN A MAJOR GOYA-ONLY EXHIBITION HAD IN A MAJOR CITY IN THE UNITED STATES AT A MAJOR MUSEUM IN THE UNITED STATES.

SO, TO COME TO ANY MUSEUM AND SEE THIS MANY GOYAS FROM THE PRADO MUSEUM IS QUITE A FEAT.

Narrator: FRANCISCO DE GOYA, CONSIDERED BY MANY TO BE THE FATHER OF MODERN ART IS PERHAPS THE BEST-KNOWN ARTIST OF THOSE INCLUDED IN THE MAJESTY OF SPAIN EXHIBITION.

A NATIVE OF SPAIN, HE'S FAMOUS FOR HIS TAPESTRY CARTOONS CREATED FOR THE ROYAL TAPESTRY WORKSHOP MANY OF WHICH ARE FEATURED HERE IN THE EXHIBITION.

CARTOONS WERE CREATED AS PATTERNS FOR USE IN MAKING THE TAPESTRIES AND HAVE SINCE BECOME MORE FAMOUS THAN THE TAPESTRIES FOR WHICH THEY WERE CREATED.

THE MOST FAMOUS OF THESE CARTOONS IS "EL QUITASOL," THE PARASOL.

THIS PARTICULAR PAINTING IS SO POPULAR THAT THE PRADO MUSEUM IS LENDING IT TO THE MAJESTY OF SPAIN EXHIBITION FOR A SHORT TIME ONLY AFTER WHICH IT WILL BE REPLACED WITH ANOTHER GOYA CARTOON THE TEMPLATE FOR THIS TAPESTRY.

GOYA IS ALSO FAMOUS FOR HIS PORTRAITS OF THE ROYAL FAMILY.

HIS HUNTING PORTRAIT OF CARLOS III IS FEATURED HERE IN THE EXHIBITION.

IN ORDER TO UNDERSTAND THE SCOPE OF GOYA'S ART AND TO APPRECIATE THE PRINCIPLES WHICH GOVERNED HIS TREMENDOUS VERSATILITY IT'S ESSENTIAL TO REALIZE THAT HIS WORK EXTENDED OVER A PERIOD OF MORE THAN 60 YEARS FOR HE CONTINUED TO DRAW AND PAINT UNTIL HE WAS 82.

IN THIS MAGNIFICENT BANQUETING HALL THERE ARE 12 PLACE SETTINGS, SOME 200 PIECES OF PORCELAIN, SILVER AND CRYSTAL FROM THE REIGN OF FERDINAND VII.

BEHIND THE TABLE ARE FOUR TAPESTRIES DEPICTING SCENES FROM DON QUIXOTE BY CERVANTES AND IN THE MIDDLE A PORTRAIT OF QUEEN MARIA CAROLINA OF NAPLES BY RAPHAEL MENGS COMMISSIONED BY HER FATHER-IN-LAW KING CARLOS III OF SPAIN.

Narrator: THE ROYAL PALACE OF ARANJUEZ WAS BUILT ON THE SITE OF A MUCH OLDER ROYAL HOUSE.

BEGUN IN 1564 BY THE ARCHITECT JUAN BAUTISTA DE TOLEDO IT TOOK OVER 150 YEARS TO FINISH.

WHEN TOLEDO DIED IN 1567, JUAN DE HERRERA WAS COMMISSIONED AS ROYAL ARCHITECT FOR THE PROJECT.

SEVERAL OTHERS WERE EMPLOYED IN FOLLOWING YEARS INCLUDING FRANCISCO SABATINI, WHO DESIGNED THE TWO ADDITIONAL WINGS TO THE ORIGINAL BUILDING BY ORDER OF CARLOS III.

DUE TO THE PLEASANT CLIMATE OF THE REGION ARANJUEZ WAS USED THROUGHOUT MUCH OF ITS HISTORY AS A SPRING AND SUMMER RESIDENCE FOR THE MONARCHS.

CARLOS IV CALLED ARANJUEZ HIS FAVORITE RESIDENCE AND USED IT DURING THE EARLY MONTHS OF THE YEAR THROUGH MAY AND JUNE.

AS A MUSEUM, ONE OF THE MOST IMPORTANT FEATURES OF ARANJUEZ IS THE PORCELAIN ROOM A RE-CREATION OF WHICH IS FEATURED IN THE MAJESTY OF SPAIN EXHIBITION.

ALSO OF MAJOR IMPORTANCE AT ARANJUEZ IS THE LABRADOR CASITA WHICH SUPPLIED MANY OBJECTS FOR THE EXHIBITION AND CONTAINS THE FAMOUS HALL OF STATUES WHICH WAS METICULOUSLY RECREATED FOR THE MAJESTY OF SPAIN EXHIBITION.

THE SCULPTURE GALLERY IS DECORATED IN THE NEO-CLASSICAL STYLE AND IS ONE OF THE MOST SPECTACULAR ROOMS RE-CREATED IN THE MAJESTY OF SPAIN EXHIBITION.

THE PRADO MUSEUM IS LOANING EIGHT ANCIENT ROMAN BUSTS TO DECORATE THIS ROOM AND THE PATRIMONIO NACIONAL IS LENDING SEVERAL SCULPTURES FROM THEIR GALLERY.

I THINK THAT WE SORT OF STRETCHED NEW BOUNDARIES FOR THE SPANIARDS IN REQUESTING THAT THEY ALLOW US TO MAKE COPIES OF SOME OF THEIR CHOICE JEWEL ARCHITECTURALLY DECORATED ROOMS SUCH AS THE HALL OF STUCCOES FROM THE PRINCESS CASITA AT EL PARDO PALACE.

WE'RE VERY PROUD THAT THE SPANIARDS HAD THE CONFIDENCE IN OUR PROJECT TO ALLOW US TO MAKE THESE REPLICAS BECAUSE THESE ROOMS ARE SO UNIQUE AND SO DISTINCTIVE THAT THERE LITERALLY IS NOT A ROOM THAT IS A REAL PARALLEL OF THESE TWO ROOMS IN OTHER COUNTRIES.

THEY ARE OF A SINGULAR DESIGN.

IN TERMS OF THE DECORATIVE ARTS, THE PORCELAIN ROOM IS THE MOST UNIQUE ELEMENT OF THIS EXHIBITION.

THERE IS NO OTHER ROOM IN THE WORLD COMPARABLE TO THIS ROOM AND THE FACT THAT WE HAVE EXACT CASTS OF ALL THE 5,000 PLUS SCULPTURAL RELIEFS THAT COMPRISE THAT ROOM IT'S A RARE AND UNIQUE OPPORTUNITY THAT MANY MUSEUMS OF THE WORLD WOULD CHERISH.

WE WERE VERY FORTUNATE TO BE ABLE TO SECURE THE SERVICES OF THE MAJOR RESTORATION FIRM IN SPAIN, EL BARCO.

AND OF COURSE, THE FIRM ITSELF EXPERIMENTED AND DID A SAMPLE OF A SECTION TO SEE IF THEIR TECHNIQUE WOULD WORK AS THEY THOUGHT.

LIQUID LATEX WAS PAINTED ON TO ALL 5,000 INDIVIDUAL RELIEFS THAT ARE IN THE ROOM.

I LOVE THE DESCRIPTION OF THE WRITER, MARIA FUENTES OF U.S.A. TODAY WHO SAID IT WAS LIKE WALKING INTO A GIANT TEA CUP.

QUITE AN ORNATE TEA CUP, I THINK.

Narrator: IN ADDITION TO THE STUNNING RE-CREATION OF THE PORCELAIN ROOM THE MAJESTY OF SPAIN EXHIBITION SHOWCASES A COLLECTION OF PORCELAIN MUCH OF WHICH WAS PRODUCED AT THE ROYAL PORCELAIN FACTORY OF BUEN RETIRO WHERE THE PORCELAIN ROOM WAS MANUFACTURED.

SEVERAL PORCELAIN VASES ARE DISPLAYED IN THE EXHIBITION SOME OF WHICH WERE PRODUCED AT BUEN RETIRO OTHERS OF WHICH ARE OF FRENCH DESIGN.

FROM THE PORCELAIN ROOM OF THE CASITA DEL PRINCIPE AT EL ESCORIAL COMES A COLLECTION OF BUEN RETIRO PORCELAIN WHICH IS SIMILAR TO WEDGEWOOD PORCELAIN.

THESE PIECES FEATURE RAISED RELIEF SCENES OF MYTHOLOGICAL THEMES AS WELL AS FLOWERS AND OTHER FLORA.

EL ESCORIAL...

THE PALACE, MONASTERY AND MAUSOLEUM BUILT BY FELIPE II OF SPAIN IN THE LATTER HALF OF THE 16th CENTURY.

IT'S RATHER AUSTERE BUT MAGNIFICENT.

FELIPE II SAID THAT FROM THIS PALACE HE COULD RULE THE WORLD WITH TWO INCHES OF PAPER.

ON AUGUST 10, 1557 THE FEAST DAY OF SAINT LAWRENCE, SAN LORENZO FELIPE II OF SPAIN DEFEATED THE FRENCH AT THE BATTLE OF SAN QUENTIN AND DECIDED TO BUILD A MONASTERY TO HONOR SAINT LAWRENCE.

HE ALSO BUILT, EL MONASTERIO DE SAN LORENZO DE EL ESCORIAL AS A TOMB FOR HIS FATHER, CARLOS I.

CONSTRUCTION BEGAN IN 1563 WITH OVERSIGHT BY THE ROYAL ARCHITECT JUAN BAUTISTA DE TOLEDO WHO DIED BEFORE CONSTRUCTION WAS COMPLETE.

JUAN DE HERRERA, TOLEDO'S FIRST ASSISTANT TOOK OVER AS ARCHITECT AND EL ESCORIAL WAS COMPLETED IN 1584.

FELIPE II WAS AN INTENSELY RELIGIOUS MAN WITH A STRONG BELIEF THAT HIS POSITION AS KING WAS MANDATED BY GOD.

IN DESIGNING EL ESCORIAL HE WANTED THIS CONCEPT OF DIVINE RIGHT TO BE REFLECTED.

INCLUDED IN THIS MASSIVE COMPLEX ARE A PANTHEON, LIBRARY BASILICA, GARDENS AND ROYAL RESIDENCE.

EL ESCORIAL, ONE OF SPAIN'S MOST IMPORTANT ARCHITECTURAL MONUMENTS WAS ORIGINALLY A MONASTERY HOUSING THE HIERONYMITE ORDER OF MONKS.

THE ORIGINAL DESIGN WAS STARK AND COLD.

HOWEVER, WITH THE ARRIVAL OF THE BOURBON KINGS IN SPAIN CAME REDECORATION AND REMODELING OF EL ESCORIAL MOST NOTABLY IN THE ROYAL BOURBON APARTMENTS.

REFLECTING THE BOURBON STYLE ARE THE PAINTINGS TAPESTRIES AND DECORATIVE ARTS FROM THE ROYAL BOURBON APARTMENTS AND THE CASITA AT EL ESCORIAL.

IN THE PAST, EL ESCORIAL WAS USED AS A FALL RESIDENCE.

TODAY, ITS OFFICIAL USES ARE PRIMARILY LIMITED TO THE PANTHEON WHERE ALMOST ALL ROYALTY HAVE BEEN ENTOMBED FOR THE PAST FOUR CENTURIES.

THIS MAGNIFICENT CARRIAGE WAS BUILT AROUND 1732 FOR FERDINAND VII.

IT'S DECORATED WITH GILDED BRONZE, CRYSTAL PRECIOUS STONES AND OTHER MATERIALS.

THE MYTHOLOGICAL SCENES AND OTHER ORNAMENTS ARE THERE TO SUGGEST ROYAL VIRTUE.

THE EXHIBIT CONTINUES WITH THIS FABULOUS GILDED, CARVED WOODEN GONDOLA.

IT'S BOTH THE OLDEST AND THE LARGEST PIECE IN THE EXHIBIT.

IT IS SOMETIMES CALLED THE GONDOLA OF KING FELIPE V THE FIRST BOURBON KING OF SPAIN.

ACTUALLY, IT WAS BUILT DURING THE REIGN OF CARLOS II THE LAST HAPSBURG MONARCH, SOMETIME IN THE 1600's.

AS I SAID, IT'S ALSO THE LARGEST PIECE IN THE EXHIBIT.

SOME 55 FEET LONG AND ABOUT NINE AND A HALF FEET WIDE.

THE ROYAL PALACES OF SPAIN ACCOMMODATE ONE OF THE LARGEST COLLECTIONS OF CLOCKS IN THE WORLD MOST OF WHICH DATE FROM THE PERIOD BETWEEN 1746 TO 1833 THE PERIOD FEATURED IN THE MAJESTY OF SPAIN EXHIBITION.

SPANISH CLOCK-MAKING AND ROYAL CLOCK COLLECTING PREDATES THIS PERIOD, BUT MANY OLDER PIECES WERE LOST IN FIRES IN THE ROYAL PALACES.

MOST OF THE CLOCKS IN THE EXHIBIT ARE HIGHLY ORNAMENTAL, AND ARE REPRESENTATIVE OF THE TYPE AND QUALITY OF THE ARTWORK EMPLOYED IN THE ROYAL COLLECTIONS.

THE MAJORITY OF THE CLOCKS ARE DECORATED WITH THEMES FROM GRECO-ROMAN MYTHOLOGY INCLUDING WELL KNOWN MYTHOLOGICAL CHARACTERS SUCH AS APOLLO, PSYCHE, ORPHEUS, DEMETER AND MEDUSA.

MANY OF THESE ORNATELY DECORATED CLOCKS ARE MADE OF BEAUTIFULLY GILDED BRONZE AS WELL AS MATERIALS SUCH AS MARBLE, CRYSTAL AND PORCELAIN.

IN ADDITION TO THE CRAFTSMANSHIP DISPLAYED IN EACH CLOCK THE INLAY ARTWORK IS STUNNING.

THE INTRICATE PAINTING IN THIS PIECE PORTRAYS THE SUICIDE OF CLEOPATRA.

AND THE UNIQUE DESIGN OF THIS BIRD CAGE CLOCK MAKES IT ONE OF THE EXHIBIT'S FINEST TREASURES.

THIS MAGNIFICENT ROOM, DESIGNED BY JUAN BAUTISTA FERRONI IS FROM THE CASITA DEL PRINCIPE AT THE ROYAL PALACE OF EL PARDO.

THE WALLS ARE MADE OF A TYPE OF FAUX-MARBLE CALLED SCAGLIOLA WHICH IS IDENTICAL TO MARBLE TO THE SIGHT AND TOUCH.

ENHANCING THE BEAUTY OF THE ROOM ARE EXQUISITE HIGH RELIEF SCULPTURES ON THE WALLS AND THESE AMAZING CLOCKS.

THIS ROOM WAS RECREATED BY EL BARCO OF MADRID THE SAME COMPANY WHO PRODUCED THE RE-CREATION OF THE PORCELAIN ROOM.

THIS ROOM, ALONG WITH THE PORCELAIN ROOM WILL REMAIN IN JACKSON AFTER THE EXHIBITION.

THE DUKE OF SAN CARLOS GAVE ME ALMOST CARTE BLANCHE TO VISIT ALL OF THESE CASITAS AND THE ROYAL CASITA AT EL PARDO THAT HOUSES THE HALL OF STUCCOES HAS BEEN CLOSED.

IT IS NOT OPENED TO THE GENERAL PUBLIC.

IT IS-- IN VARIOUS ROOMS, INCLUDING THE HALL OF STUCCOES-- IN NEED OF RESTORATION.

THESE BUILDINGS, THOUGH VERY CLASSICAL ON THE EXTERIOR AND REPUBLICAN SIMPLE IN THEIR STATELINESS AND GRANDEUR INSIDE ARE JUST...

JEWEL BOXES.

AND THIS ROOM, THE HALL OF STUCCOES IS VERY INDICATIVE OF THE UNIQUENESS AND THE ELABORATE DESIGN THAT YOU WILL SEE IN THESE RETREATS FOR THE ROYALS OF THE 18th AND 19th CENTURY.

Kyle: MUSIC, ART, ARCHITECTURE CUISINE, LANGUAGE... ALL OF THESE THINGS HELP GIVE US A SENSE OF DESTINY-- A SENSE OF WHERE WE ARE NOW AND WHERE WE ARE GOING AS A CULTURE.

IN PARTICULAR FOR MISSISSIPPIANS WE ARE VERY INTERESTED IN HISTORY.

WHAT DID MR. FAULKNER SAY, "THE PAST, IT ISN'T EVEN PAST."

AND ONE OF MISS EUDORA WELTY'S NOTED SAYINGS IS THIS HAVING "A SENSE OF PLACE."

AND ART DEFINES THAT FOR US.

ART DEFINES PERIODS OF HISTORY EITHER ENLIGHTENED PERIODS OR DARK PERIODS IN THE HISTORY OF MANKIND.

WHAT WE SEE IN THIS EXHIBITION IS THE MANIFESTATION OF WHAT MANKIND CAN ACHIEVE IN TERMS OF THINGS OF BEAUTY.

EVERYTHING IN THE EXHIBITION IS VERY UPLIFTING, VERY ENLIGHTENING.

IT'S A RARE VISUAL FEAST.

FUNDING FOR THIS PROGRAM WAS PROVIDED BY THE GERTRUDE C. FORD FOUNDATION AS PART OF THE GERTRUDE C. FORD ARTS SERIES.